It’s always nice to have John Peel back. He’s an old hand at novel writing, and without fail always delivers a strong first draft. More often than not, in fact, it requires little or no rewrites, usually a few touch-up edits. With the end in sight, we knew we had to prepare the way for Lethbridge-Stewart to become the Brigadier, and for his transfer from the Fifth to UNIT. To the end I worked alongside the authors of the final series to develop stories that would see the transition take place, show the fans why it was necessary for UNIT to be set-up to protect not just the UK, but the world itself. This book, like the previous Spheres of Influence, is a step towards that end…

We’d planned these final books some time ago, and I’d forgotten some of the smaller details, since obviously I had worked on many titles in the meantime. So it was a nice surprise when characters from bdw titleoth John's The Grandfather Infestation and On His Majesty’s National Service made an appearance. I hope it will be equally surprising and exciting for the long-time readers of the range, to see things coming full circle. It’s apt, I feel, that these characters in particular should return, tying John Peel’s contributions to the series in nice little bow.

I had tremendous fun while writing On His Majesty's National Service and introducing some new characters to the world of Lethbridge-Stewart, so when I was asked to write another entry in the series, I couldn't resist bringing some of them back again to help him out. Or are they helping him?”

I wanted to write something a bit different this time around, though, so I decided to avoid the customary alien invasion theme. This time around, the aliens aren't determined to conquer the Earth – but what they have in mind might be a greater disaster than a simple invasion. It was also fun working with Jonathan Blum (with a bit of assistance from Simon Forward) to find ways to link these final books together, to walk the path to UNIT…

The title often changes between first announcement and eventual release, and this one was no exception. Originally it was called United Nations, which would be followed up by Jonathan Blum’s Intelligence Taskforce. However, due to the need to turn Jon’s novel into two books (more on that when Jon’s book is due), I decided it made sense to assign both titles to Jon’s novels. Thus, John Peel’s needed a new title. It took a while, but I eventually suggested It Came from the Isle of Man to fit in with the B-movie influence behind the chapter titles contained within the book. John approved it immediately.

This cover was slightly different to my earlier ones in that rather than an idea of what the story elements were, I was given a passage of the novel to illustrate. The description of the sea monster is vivid and when I sat down to design it, I was influenced by one artist in particular. Way back when, when I was at school, a favourite artist of mine was Rowena Morrill, who sadly died a couple of years ago. She painted strange, fantasy hybrid creatures that had an otherworldly colour palette perfect for this subject, I felt. The scale of the creature is helped with the poor Minke victim, though I did move the ship closer than in the story for visual impact. Lethbridge-Stewart was always a hands-on sort and Andy asked for him to be in action mode. What better than showing him running into battle, urging his men forward? The breaking ice behind him hints at a location for the story, and there is a clue to another location for the keen Doctor Who fan.

I do like the Scots Guard hat (glengarry) so am pleased I was able to paint it. I find it can be quite tricky to get right in the way it sits on the head as the angles look wrong. Fortunately, I have one (too small for me, unfortunately) but it fits a polystyrene bust I have (don’t ask!). This allowed me to get it just right. I’m a big believer in reference material; you can guarantee that if you get something wrong someone will always notice. This caused quite the headache when trying to draw Lethbridge-Stewart’s service revolver, as I’d chosen an angle that I couldn’t find any reference of, so had to piece it together as best I could. I hope I’ve got it right!

I’ve been really fortunate with my association with the Lethbridge-Stewart books. I bought the first one and loved it; so much so that I felt the urge to create some fan art. Andy saw it and later offered me a try-out. So not only am I a fan, Andy give me the opportunity to become a part of it. It is sad for me to know this is my last cover as the series draws to a close, but what a ride it’s been! Massive thanks to Andy for creating such an enjoyable series of books, and for taking a chance on me. (I know he will want to edit this out, but I hope it stays)

The reaction we’ve had about the first book centred on the fact that it featured a strong female lead character, who our readers seem to have wholeheartedly embraced, working alongside classic Doctor Who characters such as Professor Travers and Brigadier Lethbridge-Stewart. The latest short story takes a new twist, and brings the iconic film actor and director, Orson Welles into the mix.

There’s a famous Spitting Image sketch from years ago,” Tom adds, “where they basically said that Orson Welles lived his career in reverse, starting with the remarkable success of Citizen Kane and ending with financing being more than scarce for anything he wanted to direct.

The Analysis Bureau did exactly what we wanted, launching a spin-off title from our Lethbridge-Stewart books, and has created a team of characters who not only exists in their own universe, but also embrace characters, both human and otherwise from the worlds of Doctor Who, who we have under license. It was only natural to bring them back as soon as we could.

Chris painted the image of Capaldi in time for the LFCC when he was invited to be a guest at the Heavy Metal stand as he knew Peter was attending. Capaldi was one of my favourite doctors and we both liked his gruffness and welcomed a return to an older representation of the Doctor. Chris remarked how much he enjoyed painting his characteristics – the eyes being particularly a feature as Capaldi’s look is quite striking. Chris liked to draw interesting, older faces as ‘they were a more interesting subject’ to paint.

Before Chris sadly passed away, we had been discussing doing something else, but this never came to pass. Since then, knowing that we had one more piece of artwork, I wanted to showcase this. We are now releasing this version of the book to celebrate his life.

When Shaun asked me to pen a new story with Lucy and Hobo encountering the Borad and some animal hybrids at Bristol Zoo, it turned out to be a two-fold blessing. Not only did I get to spend more time with two characters I really love to write, but it gave me an excellent excuse to go to Bristol Zoo for ‘research’, just a few days before it closed down! The more I saw and learned about the Zoo and its history, the more clear it became that it was the perfect setting for a Lucy Wilson adventure. I hope I did such a special place justice.

First it was The Brigadier and the Bledoe Cadets paired with Lucy Wilson and the Bledoe Cadets and now… When it came time to discuss what our next crossover would be, Shaun suggested Lucy meeting up with Edward Travers and HG Wells. Then came the old ‘who to write it’, which almost always results in Shaun suggesting John Peel. I was on board with that, and knew John would be up for the challenge…

Writing the story was… interesting. The two books had to have separate plots that interlinked, and yet still made sense if read alone – which obviously took a bit of planning! And the last couple of chapters (the wrap-up) had to be the same, obviously, but told from two different perspectives. The only way I could imagine doing this was to write both books together as a single manuscript, so that I could be sure that the pacing worked out and the overlaps occurred at the same time in each tale, and then leave the two respective editors to disassemble the manuscript into two books. Hey, I wasn't going to do all of the work! I was expecting the process to be challenging, but because the editors and I had worked it out beforehand, it actually proved to be a lot smoother and easier than I had feared. And also a great deal more fun.

The main theme of the book is memories. Lucy has travelled to Melbourne, Australia, in 1985 but has lost most of her memories. She can’t remember where or when she came from, or even who she is. Particularly important are the lost memories of her grandfather, Brigadier Lethbridge-Stewart. In 1985, she befriends a boy named Matty who also has repressed memories. Weaving all those memories into the story as they begin to be reclaimed was the concept that inspired the novel.

 

Much of the book’s setting is based around my own teenage years. I grew up in the suburbs of Melbourne, Australia. The library and lifesaving club mentioned in the book were places that I used to ride my bike to. And, just like the characters in this book, in 1985 I attended Aussiecon 2, the 43rd World Science Fiction Convention, as Melbourne was the host city. It was heaps of fun, taking these elements from my formative years, and weaving them into Memories of the Future.

I was really excited when I was told that I’d be able to use UNIT. in Memories of the Future. I ended up giving UNIT. an Australian branch. In my mind, they are off having other adventures around Australia now that Lucy has returned to her own place and time.”

 

What better inspiration for a kid’s story than evil Koala Bears? I had so much fun stepping into the world of Lucy Wilson, and throwing her into a time travel adventure with one of Australia's greatest mythical monsters, the legendary drop bears!

It's Gremlins meets a tour through Australia's rich history – from a trip to the Pleistocene era through to the 2000 Sydney Olympics. It was an honour to follow up a wonderful story by George Ivanoff and I hope Rampage of the Drop Bears delights fans, young and old!

First it was The Laughing Gnome, and then Bloodlines… and now… When it came time to discuss what our next crossover would be, Shaun suggested Lucy meeting up with Edward Travers and HG Wells. It was a great idea, and made a nice change from her bumping into her grandad. First we had Lucy without Hobo, then we tried to shake things up with the last crossover by not actually having Lucy in it at all (sort of), so this time we knew we definitely wanted Lucy and Hobo. Then came the old ‘who to write it’, which almost always results in Shaun suggesting John Peel. I was on board with that, and knew John would be up for the challenge…

When I was just starting my writing career, Terry Nation offered me a lot of advice. One piece was this: ‘If an editor ever asks, “Can you write me this?” always say yes. Then panic. And then go away and work out how you'll do it.’ (He never took very much seriously.) But it was good advice, and made me accept some writing assignments I would otherwise have passed up. It was very applicable in this case, where I was asked to write two interlinked novels simultaneously and for different age groups – certainly nothing I would have attempted without being asked!

John has written plenty for us so far, but he hadn’t done a Travers & Wells, and as I knew it was time to start thinking ahead, and working just how many books I actually wanted the series to be, it seemed John was the perfect choice to just go away and get on with the writing while I worried about the future.

The characters were interesting – Professor Travers, explorer and scientist, matched with a young and somewhat naive Herbert George Wells – possessing great imagination, but very little actual experience. They're still learning to act as a team, and being thrown into bizarre and dangerous situations. And the challenge of writing something that would have the vague flavour of Wells' stories without actually copying him was intriguing. Writing the story was… interesting also. The two books had to have separate plots that interlinked, and yet still made sense if read alone – which obviously took a bit of planning! And the last couple of chapters (the wrap-up) had to be the same, obviously, but told from two different perspectives. The only way I could imagine doing this was to write both books together as a single manuscript, so that I could be sure that the pacing worked out and the overlaps occurred at the same time in each tale, and then leave the two respective editors to disassemble the manuscript into two books. Hey, I wasn't going to do all of the work! I was expecting the process to be challenging, but because the editors and I had worked it out beforehand, it actually proved to be a lot smoother and easier than I had feared. And also a great deal more fun.

Being presented with two books, one not a Lucy Wilson, was interesting. It took a bit of wrangling to work out how to edit them. Andy edited both first, with his main focus on the Travers & Wells story, and then I primarily focused on the Lucy Wilson story, making sure everything still linked. We tweaked things in places, playing around with the respective perspectives. I think we’ve all pulled it off, and as this crossover sets up a big shift in the Lucy Wilson books, I’m looking forward to seeing what people make of it.

When it became apparent that the themes and events depicted in Spheres of Influence too closely echoed current events, Andy Frankham-Allen and I quickly came to the decision that to release it at this time would be, at the very least, insensitive. Putting it on hold did mean bringing forward the rest of 2022’s books, and finding a replacement. Fortunately, Andy quickly solved that problem by commissioning a third Brendon novel, turning the first three titles into a loose trilogy. For myself, I decided it would be a nice idea to reprint The Forgotten Son with a new cover, to hopefully make up a little for the delay. I must stress, however, that the content remains the same from the previous revised version.

This is another of those books which started an idea that came up through discussions with Shaun – a good two years ago, at least. It was a while before I realised it was the perfect fit for Sarah. I’d been wanting to do another novel with her, and she came back for a short story in The Laughing Gnome: The HAVOC Files, so it was great when she agreed to do another novel for us. The only real prerequisite, other than the core idea, was that it had to be set during the Brig’s time at Brendon when he’d lost all memory of the Doctor.

I adore writing for the Brigadier, and being able to explore different facets of this much-loved character has been great fun. When I was offered another novel in the series, this one set in 1979 and during the Brig’s post-army career as a school teacher, I immediately said yes. It’s an honour to be asked to contribute a novel to the final season of Lethbridge-Stewart novels, which has proved to be a terrific series of stories.

I wanted to explore how he deals with strange goings-on when he has forgotten so much, and when he doesn’t have his soldiers to call on to help. My brief was to write a psychological thriller, in which the Brig’s identity and life is stolen from him. The novel allowed me to explore the nature of identity theft, and memory loss, and the combined uneasiness of not being able to trust your own mind. I added a set of identical twins to the mix, a boy at Brendon, and a girl at a local comprehensive. They are at the cusp of their own change from creepy kids who enjoy playing tricks on people, to young adults facing choices.

The setting was apposite because of the feeling of being on a cusp of change, but without knowing its direction. In that, it parallels much of today’s politics. I found it cathartic to explore similar themes of being seduced by the apparent certainty of authoritarianism — even with the attendant feeling it could turn on its own to destroy at a moment’s notice. 1979 proved to be a watershed year in Britain. The full assault on the unions, LGBTQIA people, and appeals to jingoism of the worst kind were all yet to come; and for a while the political turmoil that brought much of the UK to a standstill ceased. It’s hard to think that in this day and age of TV-on-demand, the stations that are now ITV were off air for much of the year. 1979 was an amazing year for British pop music. Punk began to segue into the New Romantic movement, and rap, reggae and disco attracted huge numbers of fans. It was fun delving into the music of the time through a few of the kids who are important during the story.

I was partially inspired by a German poster of a classic British film. My last Candy Jar cover I did was for the UNIT anthology, Operation Wildcat. It was very flash, bang, wallop. Because of this, I enjoyed tackling a more psychological concept for this book.”

I love situations like this, because they focus everyone’s creative energies. It started with a quick conversation with Shaun Russell just before Christmas. Shaun felt we needed to add a bit more value for our readers, and I was keen to make sure we weren’t just replicating the (successful) formula of the Lethbridge-Stewart HAVOC Files books. So, the collection has expanded from 9 stories to 13. But we didn’t want to delay the publication, as it had already been announced for pre-orders, so I had to work quickly.

What are a writer’s second-favourite words to hear? Would you like to write me a story about…? (The writer hopes that they are attached to his absolute favourite words: Here’s an inordinately large amount of money, but they so rarely are!) So, when I was asked, "Would you like to write a UNIT story, with dinosaurs in it?", how could I refuse? (As you can see, I couldn’t)

Then came the inevitable dance of what the editor liked and what I felt happiest writing. “Would you include this?” “Can I use that instead?” That continued until we were both comfortable. Then it was time to buckle down and do the actual writing – which, for the writer, is where the fun really begins. Getting into the mood, resurrecting beloved characters and doing horrible things to them…

I had an idea for a story to act as a coda to Invasion of the Dinosaurs. John, being the great writer he is, turned that on its head and came up with Here We Go Again, set just before Invasion of the Dinosaurs! However, Ian Ball – who is the second of three new writers in the collection – ran with some of the ideas I’d pitched to John, while developing some threads set up in Here We Go Again. Ian has written The Ptower Bridge Pterror, so we’ve ended up book-ending Invasion of the Dinosaurs.

It's simple. When UNIT calls, you answer! Honestly, what writer could resist the chance to craft their own corner of this world and leave a footprint in the sand next to the Brig? For my story I wanted to explore what happens in the aftermath of a UNIT adventure, the price paid by ordinary soldiers who defend Earth alongside the extraordinary heroes we know about, and what happens when one of them doesn't quite measure up to the high standards we expect. It’s a little dark, a little weird, but hopefully a part of the world of UNIT you’ll enjoy discovering.

 

Chris immediately came back with a cracking idea that put the Brigadier centre stage. It felt like I’d lit the blue touch paper – he produced the goods really quickly! As with John’s and Ian’s stories, I was also able to ensure some minor continuity between Chris’ Honourable Discharge and Martin Parker’s Old Fowlkes’ Home.

Martin had pitched a story for the Lethbridge-Stewart range, which was unused. It became clear the story could be adapted relatively simply to work as a UNIT story instead. It’s not always easy to adapt stories in this way. You’ve got two choices, basically: you adapt / re-write as you go along, leaving alone what already works – which can be fiddly and frustrating, or you put aside everything you’ve already written and start the piece again from scratch. Neither option is necessarily any quicker to deliver. But there was a lot I liked about the story as it was, and I was keen not to lose that. So, I encouraged Martin to concentrate on the aspects we agreed needed wholesale re-writes.

It’ll be great to get my story out there with readers. It’s a bit longer than the others in the collection, I think, but we’ve worked to keep it tight and focused. I had to learn not to be precious about the story as it already was. Best of all, I can imagine it being on TV. I think when you’re writing material like this, with established characters, that’s the most important thing – to be able to picture it easily in your head. I hope the readers will, too.

I enjoyed Chris’ short story at the time, and was amused to find he originally ended it in the ‘present’, setting up a sequel. A common thing among new authors – trying to set up some future work for themselves. I remember removing that end scene and telling Chris that if we’re gonna do a sequel, let’s do one properly instead of simply setting it up. Also, by removing the set-up in the short story, we leave things open for new ideas to develop in the meantime.

After Candy Jar Books released my short story in late 2019, Andy got in touch when he was mapping out the latest Lethbridge-Stewart series and asked if I would like to submit a pitch for one of the stories. Vampires of the Night featured Professor Travers and was set during World War II, and I originally had a short scene thirty-odd years later with Lethbridge-Stewart and Anne, discovering something that hadn’t been quite resolved at the end of the story. The scene got cut but, about six hours after I got the initial email from Andy about the novel pitch, I think we had both reached the same conclusion – he followed up, asking if I wanted to do the sequel I had previously hinted at.

 

Given the United Nations is a global organisation, I wanted to create a problem that had its focus in the UK but was also happening around the world. Being an Aussie, I did throw in a couple of things from Down Under, but the core of the story is set in England’s north, so the focus remains on the Lethbridge-Stewart characters with sojourns to other countries to show similar things happening elsewhere.

 

It’s all about laying the foundations for the end of the series, as the band finally starts to break up (in a very dramatic sense), which the final series will build upon as things on the international stage start to become even more precarious. But Blue Blood does much more than that; it tells an exciting story, a bit of a mystery, introducing some fun new characters to the LSverse and, eagle-eyed observers will notice, a nice link back to a popular Doctor Who story from 1989.”

When I got the brief, I decided to produce an atmospheric piece, but one that was still vibrant and colourful. I went for bright sidelights and a sunset rather than night sky, and pushing the colour on the radio telescope in a non-realist but striking way (I hope!).

It was really important to me to get Samson right on this cover. I really like his character and I wanted to create a good portrait. One of the things Candy Jar have been really successful with is introducing strong (I hate this term) minority characters but treating them in a realistic period-way without denigrating them or making them in any way ‘token’. I hope I’ve done Samson justice.

It was fun creating the other characters, too. The female character had to be fairly scary without being too gory and not falling into the titillation trap with the tears in the dress. Merrin had to look alarmed without becoming a caricature, so I hope I struck the right balance. An enjoyable commission and I’m really looking forward to the book.

After the success of Kklak! it was an obvious thing to do more collections of popular Doctor Who artists. Jeff Cummins was the second one on my list, since, although popular, his Doctor Who work is only a small part of his portfolio. Which makes for an interesting book; Doctor Who fans love to discover further works of their favourite artists. So why not have it all in one book?

I’ve been scribbling for as long as I can remember. Any blank surface was fair game; bedroom walls, the backs of family photographs, whatever I could lay my pencil or ballpoint on. My appetite to draw was voracious! I kind of stood out at school, but not for any academic achievement. I would be given any number of art projects by teachers and pupils alike.

It was a fascinating project to be given. I was always aware of the work Jeff did on his Doctor Who covers, both for Target and Virgin, and his work for Horror of Fang Rock and The Dimension Riders have always been among my favourite pieces of Doctor Who art. I, rather foolishly, expected this book to be highly focused on his Doctor Who work, so imagine my surprise when I discovered how much else he had done. As it turns out, I knew a fair bit of his art, even owned some on albums and singles, but I never knew it was Jeff who had painted them. I guess it’s not without reason he often calls himself the Invisible Artist. My biggest surprise was that he did the poster for Back to the Future, one my favourite movies of all time, the cover art for the Paul McCartney & Michael Jackson single Say, Say, Say. The book is a powerhouse of surprises!

My Target experience overall was happy, intense, but satisfying. Although I only ever see faults in my work, the generous feedback I’ve received over the years is very humbling. I’m very proud of my association with Doctor Who and my small contribution to its history.

One of the great things about Timeslides is that Colin’s still has a huge number of sketches he made before setting out to work on each piece. That was particularly exciting because it gives you that extra glimpse behind the scenes, sits you right at his desk, so it was immediately obvious that we’d include as many of those preliminary drawings as we could.

I was really keen to open up my portfolio and see what fell out. We had a few disasters – I'd saved much of my original art and accompanying sketches, as well as the final products they were used on, but some of that was lost thanks to a leak in the roof!

Fortunately, the main victims were the replaceable bits: we managed to salvage all the originals, and we've worked hard to reproduce them in a high-quality that even the BBC struggled to print back in the day.

When Shaun told me Candy Jar would be working with Colin on a book of his Doctor Who art, I cleared a space on my bookshelf next to Kklak! I was eager to get my hands on a copy. Little did I realise that Shaun was actually asking me to edit it.

I grew up in the so-called ‘Wilderness Years’, and those gorgeous VHS covers were my introduction to Doctor Who in other mediums, probably before I was aware of the Target novels properly. So the videos hold a special place in my heart, and I know that’s true for so many other fans too. Naturally, I was super excited at the idea of getting to know Colin, let alone riffle through his archive – much of which many Doctor Who fans have never seen before. It’s an absolute privilege.

One of the main challenges has been deciding on the shortlist, such is the wealth of artwork in his collection. I thought I knew Colin’s portfolio well, but I was shocked to learn just how much more he’s done. The VHS covers were essential. But how do you decide which other masterpieces make the cut? I gravitate towards artworks with great stories behind them… but talking with Colin, it became clear that that’s true of all his paintings. I mean, he's got his very own ‘missing Doctor Who story’ – one of his pieces was lost in transit and has been MIA for over twenty-five years!

But I'm really happy with the final selection and I think fans will love it too. It feels representative of Col's overall artistic journey, and delivers what readers expect, but there are also some great little surprises along the way too.

I'm really excited to share the final book with fans. My work has never been collected together like this before, so Timeslides feels like a definitive guide.

Candy Jar has already set a standard for short story collections with The HAVOC Files books. The UNIT Files will continue in that vein. There are a lot of aspects – personal or otherwise – of life in UNIT that haven’t been covered on TV or within spin-off media published to date. That opens up a deep well of potential material that really suits the short story medium. I think we’ve pulled together a collection of pieces for this first UNIT Files that truly reflects that.

Everyone who was able to contribute seemed hugely fired-up by the opportunity and pitched some tremendous ideas. My story in The Benton Files book sparked an idea for a pair of linked situations within Benton’s career, so I’ve used those shorter ‘scenes’ to book-end the collection.

I’ve enjoyed Simon’s work on other projects, and I was keen to introduce some new voices early on in the UNIT range. Simon had a basic concept inspired by a recent trip to the Shetlands Islands. I knew I needed to bottle that inspiration, and we quickly worked out a storyline together (along with a punning title). As expected, what Simon delivered was spot on.

I’ve loved writing for the Brigadier, and when the opportunity came to contribute a story involving more of the UNIT family I leapt at it. Sergeant Benton was, for me, the obvious choice to focus on as an ordinary squaddie facing extraordinary foes.

I grew up with the original UNIT stories, and later spent a fair proportion of my law enforcement career alongside serving and former special forces soldiers. Some of the tales they shared about their training made me wonder about the adventures prospective UNIT soldiers might face and what qualities the organisation would look for in new recruits.

My dad was a staff sergeant, so I’ve always been hugely fond of the UNIT stories on TV. That also means that any time there’s a chance to do a UNIT or Brigadier story I’m happy to join up and do my duty.

My contribution, Shadow, is set early in Benton’s time with UNIT. He’s still learning how things work and the brass at UNIT are still getting to know him. I wanted to do a story that gave him a chance to show there was a lot more to him than just snapping to attention and saying ‘Sir’. He wouldn’t survive – and indeed thrive – in UNIT if he wasn’t resourceful and capable as well as brave. It let me have a bit of a delve into what Benton thought he was getting into in those early days.

I approached James just as he was completing work for Andy Frankham-Allen on The Overseers. He was very buoyed up from the experience and eager for the next challenge.

Doctor Who, while rightfully focusing on the Doctor and his companions, leaves us some tantalising clues about what UNIT and its troops are up to in the background – including how personnel are managed, trained and promoted. Although he holds a number of positions across his various appearances, usually Benton is referred to as sergeant – it’s the rank he seems stuck with! At last, we can find out how he took on this mantle and what challenges he had to overcome.

When Tim kindly asked me to contribute to the first UNIT adventures at Candy Jar, my head flooded with bonkers ideas for the Brig and Benton. Where I ended up was Bong Joon Ho’s The Host in West Wales and the most fun I've had writing a story in a long time. I can't wait to see what my fellow writers have in store for the team too!

I was delighted to be asked to contribute to The UNIT Files and to have the opportunity to write for the Brigadier once again. Not only that, I got to write for one of my favourite characters from Doctor Who – Sergeant Benton – in a story that explores just how the members of UNIT are considered by their armed forces peers.

It’s always a pleasure working with Martin. His creativity is second-to-none and our readers seem to appreciate his style.

As always Richard has done us proud. His work just gets better and better.

From the first time I read James’ first short story, Piece of Mind, I knew I had found a very good author. And it was after his second short, Latent Image for The Laughing Gnome anthology, that I knew it was time to test him on a novel. By that point plans were underway for the final eight Lethbridge-Stewart novels, which meant if I was going to use James, there would be no better time. James’ inventiveness is matched easily by his enthusiasm, and that shows in his writing. It took a few attempts to break his story, slotting in a few new elements and characters, but when the idea was locked down, James’ true skills came on full display.

I’ve loved spending time reading about these characters over the past few years and was thrilled to be able to write a couple of short stories featuring some of them. I was then asked to pitch a story for a full novel, and was quite overwhelmed to be selected. This will be my first published novel. Nothing quite prepares you for the task, so I’m grateful for the guidance Andy has provided throughout.

It had been some time between finalising the outline and the first pass edit of the completed novel, time during which I had worked on a lot of other projects, so in many ways it was a nice surprise to read James’ book. I recalled only bits of the outline. What I discovered was some very sharp writing, in a book that exemplifies the what Lethbridge-Stewart (and indeed Doctor Who) does best, telling a good adventure story by playing on common fears and issues with modern culture. An even more clever task, considering the book is set in 1971.

Chapter planning was a great intermediate stage, although I’ve learned that these have to evolve as things progress and new ideas emerge. Spending an even more immersive time with these characters has been a pleasure. They have always felt so real, especially in the face of extraordinary things, and I feel privileged to have contributed one of their full adventures, especially as the series heads to its conclusion.

I’ve taken the chance with The Overseers to show off (and embellish!) some of our own local history here on the South Coast of England, while also exploring some very contemporary debates about surveillance and control. A few news stories have even broken during the time I’ve been writing that seem frighteningly close to the fiction. That blurry boundary between reality and speculation is an ideal one for our team of familiar characters to navigate. Likewise, the point between the past and the future, where each exerts a pull, is a great one to have taken them, and I hope readers enjoy going there too.

I loved the ICUs the moment I read the brief – it's such a brilliantly simple idea, yet incredibly creepy: big brother on legs. I felt there should be a big bold drawing of an ICU with gun arm raised to catch the readers eye, whilst the rest of the montage hinted at scenes from the story. The speeding Volkswagen T2 Camper gave the cover a sense of movement, and all that was needed was Anne and Lethbridge-Stewart to complete the design.

It’s always a privilege going through entries and, as you can imagine, it was extremely difficult choosing a winner, but we felt that Peter’s stories were outstanding.

We have always offered entrants the opportunity to send in two stories, but not until now have we felt obliged to use both of them. Peter’s stories were both equally brilliant that we didn't really have a choice. Peter instinctively understands the characters of Professor Travers and Anne, and offers a new perspective on their lives. We look forward to working with him in the future.

In the Lucy Wilson books we usually include a flashback prologue; basically Lucy sitting on the Brig's knee as he recounts a fantastical story from his action-packed past. Susan has taken this concept and lovingly expanded it. As a co-creator of the series, I felt that this story was a joy to read!